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Posts Tagged ‘visual identity’

logo design with design thinking

Designing a logo with Design Thinking

A notable part of a brand is their logo. The symbol that represents the brand will be printed and displayed digitally diverse sizes, and alongside colors, shapes, images and typography, will help customers identify that particular business.

The logo is part of a system called visual identity, which is part of a larger system, the business' branding system.

The logo design process is different for each designer. I, for one, do the typography displayed alongside the symbol by hand, and that is called handlettering.

For the whole process, both handlettering and the creation of the symbol, I use a process called Design Thinking.

Design thinking was invented at Stanford University, and it's a problem solving process. It consists of seven stages: defining, researching, ideating, prototyping, selecting, implementing and learning.

The best thing about the Design thinking process is that it's not a rule, but a reiterative

Defining the project with a brief

When it comes to a Design project, Designers need to start off from somewhere. Usually, we get a mail, a call or a meeting, but that's not quite enough. It's important to acquire thoroughly information about the project, the company. That way, the design problem can be best defined and a better solution created.

I also will want to make sure that the person I am talking to is a decision maker in the company. It's easy to not get the full picture when dealing with a representative or a speaker of the decision making force of the company.

Some of the topics I will try to find out are:

  • who works in the company;
  • what are the company's branding specifics (mission, vision, values, personality);
  • finding out about the service, product, how they function, how they are sold;
  • finding out about the audience and the target market;
  • finding out about the mediums used within and without the company, how people interact with each other within the company is as important as how the company interacts with people without;
  • pricing of the product or service: this information reveals a lot of how the product is perceived in the market;

It's important to communicate to the client that all information is important. Nothing should be left outside of the conversation. There is always that project that ends with the client casually saying something at the delivery that could have been used to do a better job.

A brief should contain all details of a project. That way, the project will stay on its track. Defining the deliverables should be easy with the information you acquire.

It's important to remember that, with the Design thinking process, you are free to go back and forth on the stages outlined in this article at any given moment of the project or when the need surges.


Researching the brand, the audience, and the competitors will give an idea of the scope of the brand and the impact of the service and product on the market.

When it comes to designing a logo, it's important to take into consideration what the client has provided but not forget to expand the creative mindset by looking further than what's obvious.

There are different ways to collect information for inspiration. I personally like to start off by writing down words that cross my mind related to the project, either on a mindmap or on just plain list style.

I find useful to browse the web whilst throwing random words on Google to see how a certain word connects with its meaning both visually and perceptually. This exercise helps me to get out of the conventions I have of my own experience and my own perceptions of a subject.

Visually speaking, I create a Pinterest board per project to have an idea how the final brand should look like. Consuming other people's work extensively helps to bias my mind to the style that best fits the project, and also helps me to be attentive t details that I know I want to try out.


The ideation process is that stage where you brain dump ideas. Some people like to be restrained to 10, but I personally prefer to restrain to time per sketch in the beginning, and then pick ten.

The point of quick sketching is to allow a variety of ideas to surge. That way, you don't need to worry about finding the perfect shape just yet. Seeking quantity over quality will allow a variety of styles, forms, and shapes that you wouldn't have if you were stuck with one grid or look. I like to do this without the use of an eraser and preferably with a pen.

The best sketches can be selected and developed further, with a little bit more detail and time allowed to work on each.

The tools and the methods are not really important for idea generation. It depends on what works best for you, I am simply outlining what works for me, my process and way of looking for a solution.


Refining a bunch of logos, or prototyping them, will provide a better insight and allow a comparison basis to what could work best and what would not, as well as what can be done better.

Prototyping and refining the logos will allow the designer and the client to best visually a potential outcome to the project, and thus choose a direct in which to continue working on.

A prototype is a working model, which when it comes to logos makes less sense to define as if it was a product prototype. However, some particular aspects may be found in the presentation of these prototypes, such as dummy colors and applications (for example, on mockups).


Typically, at this stage, I will have 2-3 picks that will be selected and developed to the final stage. It's not always so black and white, but I will always present the logo I think should be presented in the middle, after a "but" sentence. I know that the client will always have a personal favorite, but the logo that should be picked should always be the one that best represents a solution for the design problem.

Never present a logo to the client you don't want to be picked. If you don't want a particular sketch to be picked, don't show it. It's never the client's fault to pick a bad idea, but the designer's for showing it.

Finalizing a logo consists of making sure all the elements are outlined in a vector format, the color palette is defined, the typography is chosen and all the sub-imagery, such as icons and patterns, are ready to be applied and tested.

The finalization process is the one that will bounce you back and forth the most. Because we designers have this... Perfectionism thing.


Make sure the logo you design is recognizable in small and big sizes, to ensure adaptability across platforms, such as on a website or app icon and posters.


It's important to remember the usage of colors when it comes to the industry and how colors affect our brain. You can read more about that here.

Also notable, colors appear differently in different medias. Print colors are even harder to be consistent with, since it differs from printer to printer, and even in between printing rolls. The material that it gets printed on might also alter tones.

The easiest way to ensure that the brand and the logo colors will be consistent across media is to define all the color codes.

Usually, I will include:

  • HEX
  • RGB
  • CMYK
  • LAB
  • PANTONE Uncoated, Coated and sometimes metallic

Designing on sRGB will to ensure a wider color space and better compatibility between different devices. However, each display will have a certain way to read colors, called color calibration, and it's nearly impossible to certify that the color will show exactly the same for everyone.


One of the aspects that I am obsessed with when it comes to logo designing is spacing.

It's important to understand that spacing is an optical illusion. Round objects, like a circle and an "O" will appear smaller to the eyes when set aside a square and an "H" respectively. So, just because the spacing between an "O" and a "H" and a "I" is the same, doesn't mean that they are optically spaced and sized the same.

In the pictures bellow, the optical spacing and the metric kerning (space between characters) are shown to exemplify how your eye will perceive each.

Ohi Spacing Optical Spacing Grid
Ohi Spacing Optical Spacing
Ohi Spacing Pixel Spacing Grid
Ohi Spacing Pixel Spacing

The optical spacing fits better to the eye, and show better a balance between the characters. Notice how the "O" is slightly overriding the baseline when compared to the other letters so that it looks right when it comes to the size. The "I" looks smaller than most letters, therefore it gets pushed a bit further away to the right so that it looks its size.

When it comes to the spacing between the logo and the type, I like to pick an element in the logotype to create balance in the piece, like it's shown bellow.

Logo spacing

This practice creates usage boundaries to ensures consistency and right placement of the logo across medias.

Useful tools


Pinterest is my favorite moodboard website. Word.

Visit website –>

Google Docs

I use Google Docs in an interesting way. In the start of a project, I use it to uncover information from the client. I add him/her to the document, which allows us to edit it at the same time and have a conversation. That way, I make sure we are both on the same page (literally) and helps me build the brief and the brand book at the end of the project.

Visit website –>


Docracy is a great website to get a template for a contract.

Visit website –>

Affinity Designer

I love Affinity Designer, but I use it mostly for Illustration. It is a great alternative to Illustrator.

Visit website –>

My to go tool to convert my colors between RGB, CMYK and PANTONE. I like to add LAB colors as well, so I use Illustrator to get the LAB colors and to compare the CMYK from

Visit website –>


Personally, choosing colors can be really painful depending on the project. Coolors has a cool "random" button that will do the start for me. I always have a mood in mind, and as soon as I find a good color, I might adjust it, then I lock it and find other 2 colors.

Visit website –>


Logobook is a collection of the old logos of the world, and it can really break our conventional approach to logo design because it doesn't follow trends.

Visit website –>

Logo Design Love

Another great Logo inspiration website.

Visit website –>

Trademark Vision

Trademark Vision searches for visually similar trademarks.

Visit website –>

Google Image - search by Image

A great alternative to trademark vision is to Google Image search by Image, which will come up with visually similar results.

Visit website –>



Should you change your brand’s voice?

Imagine two people who were really good friends once. One gets a job promotion is moves to the other side of the country, where they have a totally different accent. That friend who moved, let's call him Barnes, didn't have that much time to visit his old home town that much — but he did adapt quickly.

The friend who stayed, let's call him Nobles (original, I know) lived his life normally, occasionally being in touch with Barnes through less in-person means of communication, such as emails and text messages and very few occasional voice or regular calls.

When Barnes and Nobles reunited, however, the shock that the latter had on the speech changes of the first were huge. They could barely understand each other — even though they were still friends.

What was missing from their experience? Better communication and understanding of each other.

When you change your brand's voice, don't do like Barnes did. Occasionally tipping your audience that you are changing a your brand's voice will do more harm than good.

Imagine if Apple suddenly inject too much humor on their Commercials. How would their audience respond?

Questions to ask yourself

Answer these first before continuing.

  1. Do I really need to change my brand's voice?
  2. Who my audience is?
  3. How much communication do I need and where is my target audience at?

Don't cheat, answer these first. Grab pen and paper and quickly sketch answers to these questions. Use any format you like (lists, paragraphs, etc). I want you to adjust your answers as you read through. But do write your answers.

The answers

1 - Do you really need to change your brand's voice?

What are you doing this for? Are you rebranding or are you trying to look more like your competitors? If the answer is the later — and it probably is — then don't change unless you must and don't try to sound like them. Just like a logo, an identity color, a brand's voice is the ultimate recognition of a brand. In certain cases, humor is welcome, but in others, it's not. (Imagine a bank which brand's voice is overly humorous. Trustworthy?)

Place your brand's values and that of your audience's back to back and think: how would they hear me if they saw a creative post on Facebook with our brand sounding like that? Would it be genuine? Would they relate? Would they welcome the change?

Most of the times those answers are best answered not by you, but by your audience and target market themselves. You cannot anticipate how the market will receive your changes — until they do, or not.

However, they might be the ones turning you down over a competitor's better product or service. In this case, it's not just the voice that needs to change, it's the whole business concept — not the brand, mind you, but the corporative characteristics of your business. That is, maybe your strategies, values and mission, and USP are not strong enough.

2 - Who my audience is?

This probably should have been the first question, but if you stopped at the last paragraph and realized that was it... Then this is the next issue. If you redefine your business concept, that means you will be targeting a different audience altogether.

The law of contraction

Is your audience a tribe or is it a generalization of a characteristic?

The law of contraction (Al Ries, The 22 Immutable laws of branding) or what I call niching down, says that the more specific you are about who you are marketing and trying to create a communication channel with, the more you are perceived as a professional.

When you only do one thing, you get pretty good at doing that one thing.

What is smarter? Being everything to everyone, adding more things to sell, or selling one thing and being the best at it?

Certainly, the second option. You know what's great? Most marketers will do the opposite, and that's why you have just a handful of big dominating brands. Coke or Pepsi?

What happens when you cut a share of the market just for your brand?

Others will follow and copy you. You create a trend, a market and competition. That means you are the leader —and please, do it smart so you remain the leader of the niche you come up with. That means you will get respect.

What about the brands that do similar things?

Don't worry about them. Simple.

Learn from them if there is something to learn, but don't cripple your brand's values and mission for something that doesn't resonate with your brand's proposal.

3 - How much communication do I need and where is my target audience at?

If you came all the way down here — assuming then your business concept is on point and you are creating a new share of the market — you now need to assess your audience directly and deeply.

Who are they? Where are they? Are they young fellas that spend a lot of time on the computer, which also means most likely in the social media channels? What are their habits? What websites they visit? Ask yourself questions about habits of your audience.

Once you know where they are spending their time — and mind you, that could also be physically — you need to start communicating the changes. There are innumerous ways to do that, and you need to do that for a while for it to sink in people's mind.

One of my favorites humans, Sean McCabe, used to do lettering client works under his company SeanWes. That's the Sean I first "met". He shifted to a learning platform, where he other great people teach creatives to build and grow sustainable businesses. Some people still know him for the letter guy. Some people welcomed the change, some didn't. When you change, some people will love you nevertheless and support your cause, some people will hate you. That's ok. I still love Sean 😉

When you change the message, you cannot expect to everyone to understand, assimilate and agree with it. The same stands for your brand's voice. However, like every great rule, there are exceptions.

These exceptions are when the brand is too ingrained in people's minds. Changing a brand's voice is just not a complete shift (or a pivot, as we'd call it), like Sean's, but a nuanced one. It's the Apple example. Would you appreciate if Apple suddenly looked and sounded too messy and less minimalist? Too "old" or too "young"? Would the audience welcome it? Would it make sense in the brand's values and mission to make that change?

Go back to your brand's basics and do some thinking. Check back your values, mission, USP. Evaluate with your audience. Then come back here and check this article again and see if your answers to these questions remained the same or if they changed.




Visual Identity Basic Elements - Typography

Visual Identity Basic Elements – Typography

Creating a visual identity is creating a system. In this system, you have colors, images (illustrations, logo, icons etc) and type that combined create a consistency. This system however, is simply one of the gears in the clock.

To create a brand is to understand that there is more than just the visual identity, and thus it's of your own interest to think of each gear separately.

However, on of the gears within the visual identity is the typography. Typography is the collection — or better, system — of fonts that communicate the personality that is intended within the brand.

Fonts have personality

The classic Helvetica is a Swiss type created in 1957 by Max Miedinger, that has become Designers' sweetheart. Its clean cuts and subtle curves made it a favorite for wordmarks. It's now a symbol of minimalism.

To further talk about personality, we need to understand the anatomy of a typeface.

Typography anatomy

I strongly recommend you to read this page for a wider range of information.

A sans-serif font (without the serif) that has a lot of space between the letters, a medium thick body and a very small x-height will look very serious, whilst a font which has contrast on the stems, like Didot, and a serif, will look serious, but feminine and fashionable.

The font that composes a word mark needs to fit the determined brand personality in order to part of a cohesive visual system.

Paid font or free font?

It matters only if the font is coherent... And whether it's a paid font or a free font, this what you have to watch out for:

Spacing between the letters (kerning)

The space between each letter is called kern. A font that needs each character "kerned" is a font that is badly designed, therefore a pain to use.

The space between the letters is not always the same, because a font is an optical illusion. A "o" will look much smaller next to an "n" if the same is exactly the same. Therefore, "o"s tend to be bigger in numbers, but optically it will look the same.

A font that is badly kerned will look dysfunctional. An uneven optical spacing means that the letters do not belong to the same word, and it's not legible and much less pleasant to the eyes.

Typography - bad kerning

Imagine reading a book or an article with bad kern. Sheesh.

However, a font that is well kerned will look pleasant to the eyes and the letters will clearly belong to the same word, with even optical spaces.

Typography - good kerning

A font with many faces

Do you know when you are editing a text and you want something to pop out and you bold it? This happens because the designer of the typeface gave that specific font many styles. This gives you freedom to build a more complete visual system. A font with many styles will allow you to use contrast and hierarchy and make the text easier to read, even if it's just a few lines. Sometimes, all you need is to make a point.

A great font will at least have: - thin - thin italic - normal - italic - bold - extra bold - extra bold italic

Some fonts come with more weight options, and if you can, go for those.

Same font, different styles

A great visual identity will have at least two fonts but tops three options. Each font will have a designation within a system -- whether it's part of the logo and headings, or just for longer texts.

Sometimes, you can find fonts that have a serif and a sans-serif cuts. Typefaces with different cuts make pairing fonts easier.

They need to go together

Building a visual system that is sensible also requires the fonts (and the logotype) to be visually cohesive.

Compare the characteristics of the fonts to see if they are visually cohesive.

Take two fonts that you like, type "a" and "r" and then compare their x-heights, their counters and shoulders for example. Do this exercise over and over, with different pairs, by typing those two characters and a small phrase and check if they look like they could work together. Learn to see and feel the system you are creating.

A paid font tends to be less used, so you buy design uniqueness. It also tends to have more cuts and better spacing, so you can build coherent visual hierarchies. Better even, get one designed for you, if you can.

Quick wins:

  • Find at least two typefaces that go well along with your brand's proposal and well along with each other.
  • Typefaces also convey personalities. Learn to feel the fonts and look for characteristics that tell you what needs to be seen.
  • Paid fonts tend to have more cuts and better spacing. You invest in Design Uniqueness.

Visual Identity Basic Elements - Color Theory part 3

Visual Identity Basic Elements – Color Theory part 3

The ultimate Guide to Color

Color theory part 3

Part 1Part 2

From part 2:

"Colors affect how your brand is perceived Colors affect our consciousness and subcousciousness. Therefore, some colors will make you feel happier, sadder and even hungry when in exposure to them, but it might have a different association with another individual. The catch is to understand that every color has an association, a positive and a negative side to it and pick what fits your brand the best. In the end, it's all about giving context."

The meaning of the Secondary Colors

Purples are associated with royalty, highness and spirituality. The positive sides of purples are luxury, sophistication, wealth, inspiration and mysticism and the negative sides are madness, cruelty, exaggeration and excess.

Purple is associated with death in South America and similarly in Thailand, it's worn by widows who are mourning their husband's death. On the other hand, in Japan it signifies ceremony, enlightenment and arrogance.

In addition, Purple is a rare color in nature, specially foods, which is often considered artificial. Research says that 75% of kids tend to like bright purple. On the other hand, light purple is a very feminine, romantic color.

Greens are associated with nature, grass, money, lime, health, free and the environment. The positive sides of the greens are natural, healing, freshness, youth, harmony, success, honesty and fertility and the negative sides are greed, envy, nausea, poison, corrosion and inexperience.

**Green is associated** with paradise in Islam, and as with Ireland, is associated with the country. In celtic cultures, green is associate with fertility (The Green Man) and in Native American Cultures, the green is associated with the will and a man's volition.

In addition, Green has a strong emotional relation with the feeling of safety, because it is a very relaxing and calming tone. Green means order, authorization and "go", and it's also said to aid stomachaches and to aid digestion.

Orange is associated with autumn, citric fruits, the tropics and joy. The positive sides of the enthusiasm, happiness, creativity, fascination, success, encouragement, attraction, uniqueness, sociability, energy and determination and the negative sides are crassness, loudness, trendiness

Orange is associated with the Protestant movement in Ireland, whilst in Netherlands it is used as the national color because of the Dutch Monarchs of Orange-Nassau. In Native American cultures it's linked with kinship and learning.

In India, Orange signifies hinduism.

In addition, Orange is said to stimulate the oxygen flow to the brain, therefore stimulates people to think. Other than that, orange also speaks of friendliness and fun. Orange is also used for visibility, since it's not as alarming as red.

The reasoning behind The Branding Girl's Colors

Bright orange is my brand's main color, accompanied by green and blue.

I wanted the positive, creative and warmth of the oranges in my brand. The green and the blue are to balance it out. Normally, oranges would be used as a detail color because of it's vibrancy, but I decided to go all in because of the "side effects": visibility, friendliness and to stimulate the thinking and creativity in my audience (and myself), since we are all creators.

As we've seen on part II, the blues represent loyalty, calmness and trust, which are values for me, and I wanted to be part of my visual identity. In the beginning it was the main color, but blue is a cold color and orange was more appropriate in this case.

Greens are the third tones of my brand, and they represent the growth and success I want my audience and my clients to obtain from me.

The Branding Girl's Brand colors

"It's important to attach values to your colors to increase credibility. People need to feel your brand."

Visual Identity Basic Elements - Color Theory part 2

Visual Identity Basic Elements – Color Theory part 2

The ultimate Guide to Color

Color theory part 2

Part 1

When the sky is blue, everybody's moods are increased. What a beautiful day! The sun is shining and the sky's color is a promise of a happy day. Now, when you are hungry, your favorite coffee house is just around the corner, and the browns and oranges feel comely and suddenly you are feeling hungrier.

Whether we notice it or not, colors are everywhere and they affect your mood — thus your decisions. The greens, yellows, reds, oranges and their variants, are present in our foods, thus our brain associates those tones to hunger, food. To be fair, the smell of a fresh baked bread or grounded coffee (remember the smell at Starbucks?) they play a part in buying you into their buying.

Humans see about 10 million colors. I could start by bugging your mind and say that the color red that you see might not be the same that I see. As we saw in part 1, we see both additive and subtractive colors — the light that is reflected to objects and the objects that emit light (like the sun), then the reflected light rays caught by our eyes and processed by our brains accordingly, allowing us to perceive color.

However, that thought is not practical when you are trying to build a visual identity. We work with the principle that everybody sees colors the same way as us. Still, you should be aware that are people that will not, scientifically proved, distinguish greens and reds — the daltonics. In the part 1, we used a tool called Paletton to understand how colors relate to each other through Harmonies. In that tool, you can simulate how your chosen colors will be perceived by the various types of daltonism.

The way colors are perceived differs from person to person, nation to nation. That's because of culture, ethnics, age, gender and so on. In India, red is not danger, but creativity.

How colors affect one's buying decisions

Designers and artists sometimes "lay low" when choosing colors for their works, because sometimes a shade of green is hated by many while makes total sense for project at hand. Some people might prefer a colorful brand, others a monotone. People have their own taste for colors. Others don't really care that much.

Resonating with your audience through colors in a consistent visual identity will affect an individual's buying decision. Whether because they like a particular shade (or not) or because they have never seen that particular product in that color that was picked. That could be (read: must be) part of your target audience research and marketing efforts. 

Women tend to have more specific favorite colors and go for softer tones, while men don't always pick favorite colors and they go for brighter tones.

  • A study has shown that green tones invoke a healthier impact in people's minds, and some products labeled with green saw a rise on sales, for example.

There are also the concepts that are tied to color, such as money being green, sky being blue, the sun being yellow, gold being shiny-yellow and so on. Think of how you, as a kid, drew certain concepts, or if you have kids, watch how they associate the colors to objects and concepts.

How are colors important for marketing

Colors should be handled carefully and thoughtfully, however, context and content are everything.

We make decisions whether we like a person or a product within 90 seconds of entering in contact with it. Therefore, choosing the right colors is the key to atract someone's attention and build brand awareness.

Brands, whether online or "in the real world" will use imagery to catch your attention. Most likely, the first contact you will have with a brand will be visually. Videos, photos, illustrations, shop signage and so on are created to captivate you into buying from them.

Colors affect how your brand is perceived

Colors affect our consciousness and subcousciousness. Therefore, some colors will make you feel happier, sadder and even hungry when in exposure to them, but it might have a different association with another individual. The catch is to understand that every color has an association, a positive and a negative side to it and pick what fits your brand the best. In the end, it's all about giving your audience context.

Primary Colors

Reds are associated with fire, blood and sex. The positive sides of reds are love, passion, heat, energy, power, excitement and the negative sides are anger, hate, danger, battle, pain, aggression.

Red is associated with death in Africa and in the Ivory Coast on a darker, maroon tone. In France, on the other hand, it's associated with masculinity, while in most of Asia it's associated with marriage, prosperity and happiness. In India, red is a soldier's color and in South Africa red is used to signify death.

In addition, red is a dominant color visually. It stimulates the heart rate, breathing and the appetite. Reds also suggest speed and action.

Yellows are associated with sunshine, gold, citrus, lemons and sunflowers. The positive sides of the yellows are joy, idealism, optimism, brightness and wealth and the negative sides are hazard, deceit, jealousy and caution.

Yellow is associated with mourning in Burma and Egypt, but with merchants and farmers in India. In buddhist cultures, it's associated with priests and in hindu cultures it's associated with the spring. In Japan, yellow is associated with courage.

In addition, yellow is the happiest color in the color spectrum. It also speeds the metabolism and it's the first color that our eyes notice, which causes fatigue. Yellow is the brightest color, therefore it doesn't have a dark shade. A more pale yellow enhances concentration.

Blues are associated with water, the sky, ice, cold and blueberries. The positive sides of the blues are trust, peace, manliness, intelligence, loyalty, knowledge and justice and the negative sides are detachment, apathy, depression and coldness.

Blue is associated with males in most of the world, but in China, it's a little girl's color. In Iran, it's the color of mourning. Worldwide, it's also a corporate and trustworthy color, commonly associated with banks and big enterprises.

In addition, blue is very unappetizing, it suppresses hunger, because blue food is very rare in nature. Also, blue forces our body to produce calming chemicals. People are said to be more productive in blue rooms.

Takeaways and quick wins:

  • Colors are everywhere. Together with imagery, it affects our decisions.
  • Colors are the first thing we notice and use to judge something upon; therefore choosing color wisely is beneficial.
  • Color preference research should be done together with market and target audience research.
  • Colors have concepts tied to them: negative and positive associations as well as cultural. You must provide context and content in order to be understood correctly.
  • Because colors and imageries catch attention, they help you build brand awareness.

Part 3: The meaning of the secondary colors

Visual Identity Basic Elements - Color Theory part 1

Visual Identity Basic Elements – Color Theory part 1

The ultimate Guide to Color

Color theory part 1

Colors are produced in through two methods: additive and subtractive. In an easy way, additive colors are produced by bodies that emit light, such as the sun, screens, light bulbs, etc. Subtractive colors are reflected color beams, such as paper prints, clothes and pretty much everything (that is not emitting light, of course).

In the digital world, we use additive colors. They are composed of three pigments that, when combined, produce millions of tones. Those tones are converted to subtractive once we print them out or use paint. To produce a cohesive visual identity, you need to understand colors and the harmonies that produce visually appealing palettes.

Additive and subtractive colors

Additive light is composed by Red, Blue and Green, or RGB for short. In the RGB mode (also in the virtual world), the more you add pigments, the brighter it gets. The absence of light produces black (when you turn lights off in your room, for example. That's why everything gets a greyish tone, if there is not light, there is no color to reflect).

Subtractive light is composed by Cyan, Magenta, Yellow and Black, or CMY for short. In the CMY mode, the more you add pigments, the darker it gets. However, CMY is an imperfect mode because it doesn't produce all the pigments. If you mixed all the three tones, you'd get a muddy brown tone. However, we've created a "key" color, but it's basically black to our eyes. Hence the name of CMYK for the print color mode.

In the additive space

Primary, Secondary and Tertiary Colors

The primary colors are those that can't be obtained by mixing other colors up in traditional pigments (paint). These are red, blue and yellow.

Once you mix those three pigments up, you get the secondary colors. These colors that are obtained are placed in between the two hues that compose it on the color wheel.

  • Red + blue = purple
  • Blue + yellow = green
  • Yellow + red = orange

In order to get the tertiary colors, you already guessed. You mix a primary with a secondary:

  • Red + Purple = red-purple
  • Purple + blue = blue-purple
  • Blue + green = blue-green
  • Green + Yellow = green-yellow
  • Yellow - Orange = yellow-orange
  • Orange - red = orange-red

"It's fun to try it for yourself: take three tubes of primary colors (so red, blue and yellow) and make your own wheel! First, mix them with one another, then mix the results with the pure colors from the tubes and so on. You'll understand how many tones you are able to reproduce after that."

Companies like Pantone create their color mixes for different kinds of materials (or coats) and they give each hue a name. They are the leading company in the Color Design World. As a Designer or visual artist, you should follow them. They are the ones setting and predicting the trends.

Primary, Secondary and Tertiary Colors

Music with colors: Harmony

Harmonies are a pleasing set up of sounds, figures, smells, and of course, colors. This means that some colors go along well with each other better than others.

Now that you understand how colors are made, you will see sense on what's to come.

The color wheel is the representative mix of all the hues, sub hues and sub-sub-hues mixed the way we have seen. This generates millions of tones. The human eye is more perceptive to the colder tones that range between red-green and yellow.

I want you to open Paletton, my to-go palette creator. You will be able to visualize and play with the following harmony rules.

Using Paletton is simple, and for the sake of simplicity, we will use only the outer wheel sliders (there are more tweaks but that's a subject for another time).

We now have 12 main color divisions, the primary, secondary and tertiary tones.

For now, we won't be moving the main slider in Paletton around (the middle one). Notice that the indicator "Hue" will be at 0º and the distance will be at 30º by default. This means that there is a distance of 30º between each color on the wheel.

  • In order to have contrast in your works, you always need one color to dominate, and at least other two to support it.
  • Always test your palettes and designs with both dark and light backgrounds (Paletton does that for you).
  • Typically, the third or forth colors are used as adjacents (detail) colors. They are not meant to dominate a design.
Complementary Color Harmony

The complementary colors are opposite to each other on the color wheel (always the angle of 180º). If you combine complementary colors, they cancel each other out and you get grey as a result.

In this case, the complementary color (or, in Paletton, the small square) will always be the adjacent.

Complementary colors are not reader-friendly, however, they create visually striking designs, specially at full saturation. They are very contrasty, so a go-to for simpler and rich designs.

Place your hue handle at the angle of 357º. I would design a strawberry bubble gum packaging with these (a bit more saturated tho).

Now, place it at 300º and watch the image below.

Complementary colors

Analogous (Adjacent) Color Harmony

The adjacent or analogous tones are the ones that are, well, adjacent to each other. They create serene and sensible harmonies.

In Paletton, the circle on the left and on the right of the main tone. However, making the distance too large between these two and the main handle will declassify that palette as analogous. Like the name suggests, the tones should be adjacent to each other. Typically, I range only from 30º to 45º for analogous palettes.

Play around a little with the main handle (the one in the middle) and watch how the palette changes and how the colors go with each other.

Now, slide your hue handle, or simply click on the angle indicator on the top left and write 180º. (A trick would be to click on the link "opposite" underneath the "hue" angle indicator".) Notice how the green tones now resemble a forest.

Now, slide or type your hue handle (remember, always use the middle circle) on the 90º angle. Now, the palette is really muddy, not very pleasing to the eye unless you are designing an identity to a boring coffee place.

Triad and split complementary color harmonies

On the triad harmony, the tones are evenly spaced from each other. The distance, then, is of 60º.

In order to understand the split complementary, let's get the concept of complementary colors and literally split it in two, obtaining the tones that are analogous to the complementary and ditching the complementary itself, like this (distance of 30º):

Paletton - Double Complementary Harmony

Double complementary harmony

The triad harmony creates a vivid palette, even on paler tones. It's great for ludic, happy and up-beat brands. However, it creates very little contrast.

Experiment with the main hue slider, place it at 50º while keeping 60º of distance. Notice how the tones are very earthy and natural.

The split complementary harmony creates a vivid palette, much like the triad but with the contrast aspect of the complementary harmony.

Experiment again with the hue slider by placing it at 330º, although remember, the distance has to be 30º. This will create a very gummy-like palette that would be great for a sweets or kids products company.

Double complementary and tetrad color harmonies

Double complementary colors have the same idea as the split complementary. However this time, you split both handles and ditch the main hue, staying only with the analogous tones. The distance between the colors will always be 60º, otherwise the fall out of the double complementary and become tetrads.

Tetrad colors are equally spaced on the color wheel.

These two harmonies are often mixed up in the internet. However, when you see a color wheel and see you only one tone in between the hues, you know they are actually double complementaries and not tetrads. Tetrads always have two or more tones in between the handles: minimum of 61º and maximum of 179º on the color wheel (skipping 120º).

Both of these two harmonies are hard to obtain an overall balance.

They are, however, great to create a visual hierarchy within a Design, if all are tones used as contrast (detail) colors.

Using this two harmonies is like juggling with colors. It can look very carnavalestic (that's a word now) and busy.

Place your hue handle at 90º and the distance at 95º and watch the interior design image below:


Part 2: The meaning of the primary colors

Visual Identity Basic Elements: Personality

Visual Identity Basic Elements: Personality

A brand is a living thing and therefore it also has a personality. Much like you, but it does not mean that it will be the same as yours. Even if you have a personal brand, it is of extreme importance to think about it as a its own being — considering as well when and how to use humor on your favor. In certain occasions and for certain brands, humor is appreciated and necessary. But how do you. define "personality"?

How to find your brand's personality

Your personal brand is a reflection of you. It doesn't mean it will have the same personality as you. For your brand to be its own being, you will have to look to whom is buying from you: your audience.

If your audience is composed by kids: they like to play, therefore your brand needs to be lively, fun, colorful and innovative otherwise it won't appeal to them.

If your audience is composed by sports people: your brand needs to be fresh, active and adventurous.

When one talks about customer profiling, why you need to understand who is buying from you, it's because people buy from people, not from brands. Therefore understanding how they feel, act and think will help you position yourself and your brand better in order to connect (know), resonate (like) and finally sell (trust).

"People buy from those they know, like and trust." - Sean McCabe

People make decisions whether they like other people and products within 90 seconds of contact. How many times have you ordered food just because it looked good? Personality is a trait that is more fixed than mood. Therefore, you need to get on all the artifices to make sure people "get it", even if unconsciously.

Your personality affects the way you talk and behave

Someone who is always funny feels untrustworthy. Someone who is always serious feels cold. That's how society (your audience) views them, it doesn't mean they are like that. When you assign personalty traits to your brand, your speech and behavior change accordingly with time. In bigger businesses, this is achieved by great leadership that understands the importance of brand culture.

Brand personality is not the same as image...

But affects it, because it's what will build the marketing and thus will increase brand awareness and equity. Brand personality is the attitude over a tangible, thus physical, output. That would be your brand's image.

Understanding that a more ludic brand needs to look and feel that way is the key to successful marketing.

Remember: from a person to another, multiple times

Communication between a business and it's audience and clients is vital. Realize that on both ends of the communication channel there is one person. For example, a Facebook post or an Instagram Story video, even though there might be 100k people seeing that post, one needs to remember they are seen 100k people seeing that post individually.

Therefore, a message should be passed to one person and not to a group of people. Instead of saying "you guys" or "hi, all", it's more personal and captivates the other person if they are directed as simply "you". The impact of a message will always be greater if it is perceived directly to the person receiving it. True, you might have 100 or 100k followers, but your message will still be read individually, one by one.

Dealing with expectations

You and I both create expectations, whether while we order food at a restaurant (specially from those we already know). We want consistency. (Building trust.) The same is applied to the tone of voice you use with your brand.

However, the element of surprise makes your brand memorable. There are two ways you will be memorable when doing the unexpected: either you did something great or horrible. When you go buy a gift to a friend at a store and you are presented with a small gift for yourself — your initial intention wasn't to get anything for yourself — that's a positive way to create impact and be remembered as a brand. On the other hand, going to get a hamburger at a restaurant and you get a salad is... awkward.

"Would you purchase from someone you don't resonate with or understand? Would you purchase if it didn't feel comfortable and trustworthy?"

For personal brands, it does get easier because you are capable to build reputation before actually being a proper brand. You just have to keep doing the same of what works and communicate the changes to your audience as they happen.


Key takeaways:

  • Brands also have personalities, but not necessarily it's the same as yours;
  • You brand is its own being, however, understanding the audience will help you align your brand with them as people;
  • People buy from people, not brands;
  • Personality affects your speech, behavior and how people perceive you (image), the same is true for brands;
  • Image is not the same as personality, but is affected by it;
  • Whenever you issue a message, it has to be one-on-one format, even if your audience is big;
  • People trust consistency;
  • Breaking expectations will be positive for your brand if you do it the right way;

Visual Identity Basic Elements: The Logo

Visual Identity basic elements: the logo

A black swash on snickers. A big, round yellow M on a red background. A half bitten apple (ok, that's an obvious one). Recognizable and unique logos are part of a brand's effort to make a difference in the market. The logo, however, doesn't thrive alone in itself: without depth and leadership a company will not go far. A logo is an important element in one's business, but not the focus.

A logo does not define a business, but every business needs a great logo

A logo alone does not tell not much if it's not backed up by great story telling and consistency. For example, a Swedish outdoor equipment most well known for their backpacks, Fjällräven, has a little fox (that name actually means arctic fox in Swedish) as a mascot/symbol (or what we call a logo) for their company. But you will recognize their brand through their classic looking backpack from afar, before you even see the logo. Consistency is the key to a brand's recognition, and the logo is part of that consistency system alongside with colors, typefaces, images, shapes, words and even smells and sounds (like jingles) that convey the correct type of feelings to the chosen target audience.

It all culminates with great story telling that resonates with people.

The symbol

The symbol is what we call the "logo" or the "mark". It's the visual element that will be put in tags, packages, signs, on the website, on social media — basically anywhere where a brand thrives.

Some symbols are so strong they don't need the company's name alongside them, just like Nike's, Apple's and McDonald's. A company that is able to put a lot of brand awareness efforts out through large marketing campaigns, keynotes, events and brand partnerships (like Apple and Nike) will head to market recognition if the story is aligned with some leadership.

Everyone starts small, whether in a garage or in a dorm; the point is, until you hit the right target with the logo and even the name, your company will go through changes, you will learn more about the market (and yourself) and adapt, and your visual identity will (and must) follow through. Defining what a brand stands for is the beginning to creating a great visual identity and to find the best symbolism solution.

In truth, there is no correct "formula" to find an ideal symbol for your company. You need to be able to craft or identify a story and from there extract the ideas for your symbol and even for the name. That way, you already have a story to tell people so they can resonate with your brand.

A brand is about depth, and the logo is at the peak. There needs to be way more underneath to support it. Therefore, focusing on the logo too soon without knowing anything about that depth is a waste of time and probably of money as well. Your logo will most certainly develop itself through time or through simpler solutions than you could possibly think of.

The type

Type refers to the letters in a font. On the old days, these were done through pieces of metal that were like stamps. A typeface is a set of fonts (for example, you have the bold, italic and bold italic fonts within a typeface, it's like a bundle). When we refer to the "type" we refer to the "Design" or the overall look of a typeface.

Symbol + logo

The typefaces must be in visual balance with the symbol. A logo doesn't necessary need to use a font, some designers (like myself) do the type by hand — which is much harder but ensures originality. That is called handlettering. Apple for example, Designed it's own font called Myriad Pro. There are pros and cons with using a specially; designed typeface:


  • It's generally more expensive to have a typeface designed for you or a handlettered logotype;
  • You always need to think of virtual usage: always ensure you get the license for the web and mobile apps;
  • A handlettered logotype is not a font, therefore it cannot be "typed" on documents which might make it more complicated to build a system of types to use alongside the logotype;


  • A handlettered logo or a custom font are unique;
  • A custom typeface can be typed and used in formal documents, on the web and on apps, which ensures trustworthiness, consistency and style;
  • A custom typeface becomes a character of the brand much like the logo, therefore it supports the consistency;
  • Control: no one will have the same type as you;

Having different settings for the symbol, the logotype and the type

The logo will be used in different sizes, mediums and outputs, therefore your brand will need different logo "layouts".

A logo must always work on any size, in color and in black and white, or at least have an adapted version for a certain medium.

A quick checklist would be:

  • a full logotype in vertical setting (black and white, colors);
  • a full logotype in horizontal setting (black and white, colors);
  • the symbol isolated (black and white, colors);
  • the type isolated (black and white, colors);
  • mascot (black and white, colors, optional, read further);
  • make sure all these versions are recognizable in small sizes, on dark background and light background (absolute all versions!);

Simplifying is not so simple

"Your logo needs to be tattoo-worthy."

But that's hard. How do you make an impactful logo? *Figuring out your sht first and putting in the work,** As Gary Vaynerchuk would say (not necessarily about this subject, but business and marketing in general). Once you have the brand figured out, suddenly everything becomes clear and more directed to where you want to be and what you want to achieve.

Simplifying a brand's visual system, therefore, relies on getting your self awareness, brand clarity and on story telling in check.

Bonus: To mascot or not to mascot?

It depends a 100% on how you position your brand, so it's hard to tell. A mascot is usually an animal or a character that supports the brand visually in order to give it a face, quite literally in cases. A mascot, specially animals, can be associated with personality traits that support the marketing efforts even further. For example, Fjällräven's fox represents the nordic wilderness, the free spirit of adventurers, which resonates with the kind of people that brand wants to attract. In many cases, the logo and the mascot will be the same (remember: consistency is the key). Mascots, therefore, work great with energic and fun brands.

Key takeaways: 

  • Sometimes it just "happens" that an object or animal becomes the symbol, like in Fjällräven's case, as long as there is a story to build from it (backwards engineering the logo's meaning) and it resonates with the audience that you are trying to reach;
  • The symbol is what we usually call a "logo", it's not an icon, it's a mark;
  • The type (how the letters are represented in style) is as important as the logo itself: they need to speak to each other in style, personality and be in general balance;
  • The logotype is how your brand's face will be represented in it's full form: the symbol + type;
  • A logo must be "tattoo-worthy" and work in different mediums, sizes and outputs;
  • You always want to make sure that the logo works in black and white as well as in colors — in fact, a designer should always start with the black and white version (or the "cheap printer version", as we like to joke);
  • The simpler the logo the better, but those are the hardest ones to make do;
  • One way to make a memorable impact is to have your designer come up with a mascot — specially if your brand has a funnier or energetic side to it;

Visual identity basic elements

Visual identity basic elements

Nothing speaks louder than... An awesome visual identity. Creating a brand requires many levels of action. It's not so much like a recipe, every brand is a brand.

A visual brand is not about a logo... It's about emotion. If you enjoy baking a cake (and eating it!), you know the joy of every single step until the magical moment of eating it. And then you repeat. This is how your audience should enjoy your brand.

Know your brand

Knowing your brand is the first step to thinking about the visuals.

It's incredible how many people ask for a logo that don't know what it takes to build a brand.

Be on an mission. Having a solid reason to pursue your business is much like going to war. Find a mission (a problem) and tackle it.

Your vision of world impacts how you will make decisions. However, your vision doesn't necessarily entice about your industry.

My idea doesn't solve a problem! Snapchat's Spectacles... What does your audience want and need from you?

Know your audience

Your target audience has a specific profile. How well you know them makes a huge difference: resonating through images require to understand what appeals to them.

Think about impact

When appealing to an audience it's important to think about how your actions will impact them to take action. What is your USP?


Every brand has a personality, just like real people. Your brand can be serious and clean, or fun and relaxed.

Brand personality is a behavioral aspect of your business, is your tone of voice.

Pick below the 5 most important aspects of your brand.


Colors have different impacts on the human brain. Finding a palette that matches your brand's personality and connects with your audience.

Your designer will know what is the best palette to choose -- the right tones that will market your brand correctly.


The typography -- or the fonts you choose -- are as important as the colors.

There are different types of fonts:

  • Sans Serif
  • Serif
  • Script
  • Mono
  • Slab Serif

They all have different heights, weights; therefore, the choice of typeface will convey certain types of personalities.

For example, a thin/thick contrast serif typeface will convey modernity and fashion. It's also really feminine. Just like Vogue's (notice how to the logo is still the same): 


A script typeface is also feminine in most cases, thus more delicate.

adelicia - script font

Font legibility

Being legible is the most important aspect when choosing a typeface. Being legible is crucial for paragraphs, for example. Being legible means that it is easy to read. There are many ways that are font might not be legible:

  • too thin (specially in small sizes)
  • shaped weirdly
  • spacing between the characters
  • too small
  • choice of colors against a background

Understanding the choices that will be made is of course up to your designer and your own personal preferences; and what kind of feeling you want to convey.


Talking about feelings; combining all these aspects with clever positioning will do wonders to building a strong brand.

Brand emotion is a marketing idea that appeals a brand to customer's needs, wants and aspirations.

The Logo

Your logo is the cherry on the top of your brand. It's what people will recognize you for without necessarily having to attach a name with it.

A logo that works is not necessarily a complex one. What makes a logo good is actually the story that revolves it. How that story is told, the emotions it causes on the people is what makes a brand memorable and the logo gets that emotional attachment.


There is more to a logo than just a mark. Like we've said, it's an emotional feature deployed on a visual mark. A great logo is tattoo worthy because it represents a connection.

A symbol is a material object represented in a mark that conveys something abstract. A limousine is a wealth symbol, for example.

The logo is not a symbol, but the symbol is part of the logo. Logo is the the short for logotype, which is a word imprint (it comes from greek). We will talk about the logotypes in the next section.

A brand's symbol is what we usually call a "logo". Apple's apple is their symbol, Nike's swash is their symbol and so on. It's ok in 999 times of 1000 to call the brand's symbol a logo, but for the sake of explanation, we will call it a symbol.

The symbol is tattoo-worthy and T-Shirt Awesome

A symbol that works as a great identifier will work on any media, at any size. The designer must make rules on a brand book or brand guidelines, however, and you always need to be aware of the limitations revolving a mark and a logotype.


The logotype is the combination of the symbol with the word mark. A brand is a complex being, therefore it is necessary to have consistent representations of it.

  • A symbol
  • The name
  • The logotype (there might be more than one version)
  • It's meaning

Here's the example from my brand:


In order to be consistent, it's also important not to overwork the amount of fonts, colors and the kinds of image you use around your brand. The simpler you keep, the better chance you have to be recognizable.


How are you representing your brand, products/services?

You can use stock images

One way to represent your brand graphically is to use stock images. You can either purchase, or you can use free ones. Where you want to get your images from, always read the license. Avoid trouble by carefully reading the license so you know how these images can be applied, whether they can be used on products you get revenue from or not, for example.

Stock images are great to illustrate your social media and your website, for example. Here is a list of my favorites:

You can (and should) produce your own images

This is the best part, but it takes more time and maybe more money. You don't need fancy equipment to produce great images. Most phones have a decent camera nowadays, so whilst you can afford a fancy DSLR or some other high quality cam, you can go for the machine in your pocket.

Product pictures or 3D renderings, videos

An obvious thing if you have products, I guess. You can produce images of your product in a backdrop or in use.

Videos, however, perform better in social media. You can illustrate your product in use or a fancy 3D rendering (or, well, get creative!) to instigate your audience.

In-house images

Your office and the background works are extremely interesting to your audience and people love to learn how things are made. We often underestimate the power of the basics.

Always document your process

I always tell my friends and clients to document and show the process, whether through social media or self-produced videos. You can iterate your process, learn from it and teach your craft.

"Document, don't create" - Gary Vaynerchuk


Like I said, videos perform better and you can touch your audience in a deeper level. The usage of words, music and of course, the imagery resonate more deeply with people.

"People connect with people, not brands."

The more you show of your people, whether it's you alone, an audience person... Put a face on it.

Why did I talk about all of this? There is a thing called Mnemonic Strategy. The usage of patterns, words, colors or anything that iterates the characteristics of your brand is part of a strategy to help imprint your brand into people's minds: the Mnemonic Strategy.

Having your designer work on this is a bonus to you to insert your brand into your market, connect with your audience and increase your sales.

The Stationery and extras

Stationery means what accompanies a brand, for example a business card, your website (some might not consider it so), a clothing tag, and so on. Stationery is part of the consistency and experience that a customer will have with the brand. And that's why they are so important to think of and be creative with. It all depends on your industry what a stationery (or extra, really) list will look like.

Here is the final list:

  • Know your brand
  • Know your audience
  • Mission, Vision and USP
  • Personality
  • Colors
  • Typography
  • Emotion
  • The logo
  • Consistency: imagery


If you have any doubts, make sure to leave a comment bellow.

How to start a creative business

How to start a creative business

The most important question to ask yourself when starting a creative business is: why? The answer to that question is the ultimate fail proof to whether you are bound to lead your industry or compete with everyone else. Your business will be successful if your reason why is to help other people, not yourself make loads of money.

“[...] so let him who wishes his benefits to be prized consider how he may at the same time gratify many men, and nevertheless give each one of them some especial mark of favour to distinguish him from the rest.”

Excerpt From: Lucius Annaeus Seneca. “L. Annaeus Seneca on Benefits.”

It starts with motivation

As with any emotion, motivation needs to be controlled. Use your motivation to start a useful business and not a mess of thoughts and ideas that you throw in social media.

Start by documenting your process. Gary Vaynerchuk is a strong advocate of documenting, and before I even heard him saying that, I spent about 5 months writing my process down. Writing my process has helped me figure out how to proceed with my clients.

Know your audience

Knowing your potential clients requires you to understand who your audience is. I remember back in University, our teacher made us create client profiles that would determine the type of people we'd like to be in touch with our imaginary brand.

Knowing your ideal client will do wonders to create sales.

Know the needs of your audience

Knowing who your audience is the first step to knowing wheat they need. Sometimes people don't know what they need, but you can identify the problem and help they solve it.

It doesn't matter if you are an illustrator or a musician: people still have needs to consume your creative works. People have primal needs and emotional needs.

Primal needs are those related to survival, whilst emotional needs are the rest. Whether they need to consume art or a service to solve a problem, or buy a product that will save them time. You need to identify what kind of need your product/service covers and what problems you are solving.

Know your niche

Niching down can be very scary for most people, but the truth is that if you don't, you will invariably be competing with others. You need to dominate, not compete.

Know your unique angle in the market

Knowing your Unique Selling Proposition/Point (USP) is the key to standing out in your share of the market.

Build your brand

As simple as it might sounds, it actually requires a lot of work and thinking. You need to validate your idea, build a brand image and a bunch of other facets to your business.

You need to make sure your brand will stand out.

Visual Identity

Building a visual identity tends to be the most sought after asset to a brand — even by business that are not business yet.

However, a visual identity supports a brand to build awareness.

Create advocates

Next step, is to build your audience. What does it take? Time, patience and a lot of work. There is no cutting corners.

It's not about a plan: it's discipline

Your business is not defined by one or two plans; it's defined by how much you work and how disciplined are you.

A Brand is a living plan: no amount of "budget planning" or "business planning" will determine how successful you will be. It's about what you do, how you do it and when you do it.


It takes time. Becoming the brand you want to be, gaining followers, being noticed... It takes time to become relevant, and it requires you to show up everyday. Like I've said before: there is no cutting corners.

Know your process and teach it

All of us creatives have a lot to share and talk about. You have the chance to talk about your brand and your niche through social media and a blog. This way, you position yourself as an expert in your field.

The benefits of writing

  • Writing helps you gain clarity
  • Writing helps you remember
  • Writing helps you learn further
  • Writing helps making things more solid (and thus more achievable)


As long as the reason why you are doing your thing is turned towards others, you will be bound to create a brand that resonates with people.

For that, you will need to focus on the people and on the problems to be solved.

Get me to help you out

Let's chat, you and I, about your idea, your struggles, your fears, or whatever else regarding starting your creative brand as a business.


The Branding Girl • Y-Tunnus: 2791209-3

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